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Tommy doesn’t aim to dazzle like 2008’s Wolves And Wishes or 2006’s The Lost Take; instead, it focuses all its tech-wizardry on some of the most vulnerable, exultant melodies Dosh has captured yet.
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It’s certainly going to be one of the most, if not the most, fresh sounding electronic albums of the year and it’s only going to get better as time passes.
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Tommy sounds like it has been carefully scored, but chances are Dosh created all this in his head. There are so many perfect moments.
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Tommy excels because there is no one correct way to describe the music. Using everything from Afrobeat to IDM, Dosh does it all; yet, he manages to find a way to make the entire project cohesive.
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What this means in terms of structure and pace is that Tommy is leisurely, which to some people might suggest “boring” except that this is a very dynamic sort of leisure.
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This is Dosh taking a step back, slowing down, freaking out a little (check the snarling ending of album finale “Gare de Lyon”), and making the most personal music of his career.
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Under The Radar[Iit is] a rambling, sweet-and-savory aural feast. [Spring 2010, p.69]
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Dosh has indeed graduated from the sketchbook-like arrangements that marked his earlier work-- but Tommy's occasional tedium is a reminder that there's nothing wrong with doodling in the margins, either.